Jump to content

Amadeus (film): Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
grammar
Reverted to revision 795558888 by Joefromrandb (talk): Unnecessary & undiscussed changes to long-standing version. (TW)
Line 36: Line 36:


==Plot==
==Plot==
The film opens with the elderly [[Antonio Salieri]] ([[F. Murray Abraham]]) confessing to the murder of his former colleague, [[Wolfgang Amadeus Mozart]] ([[Tom Hulce]]). He attempts to kill himself by slitting his throat, but is saved by two servants. He is taken to a mental asylum where a priest, Father Vogler ([[Richard Frank (actor)|Richard Frank]]), implores him to confess.
The elderly [[Antonio Salieri]] ([[F. Murray Abraham]]) calls for forgiveness from [[Wolfgang Amadeus Mozart]] ([[Tom Hulce]]) for having been his assassin; Salieri cuts his own throat. During the night, Salieri is put into a [[History of psychiatric institutions|lunatic asylum]] where the following day the young Father Vogler ([[Richard Frank (actor)|Richard Frank]]) visits him and elicits his [[Confession (religion)|confession]]. Salieri is disinterested but then warms to the priest's interest.


Salieri recounts how, even in his youth, he desired to be a composer, much to the chagrin of his father. He prays to God that, if he will make Salieri a famous composer, he will in return promise his chastity, industry, and humility. Soon after, his father dies, and Salieri takes this as a sign that God has accepted his vow. He moves to Vienna and becomes the court composer for [[Joseph II, Holy Roman Emperor|Emperor Joseph II]] ([[Jeffrey Jones]]).
Salieri explains that when he was young his father had a higher regard to pray to protect commerce than have his son through music, devotion to celibacy and sacrifice achieve the glory of God. Salieri's father had the opinion that Mozart was "a trained monkey". Salieri perceives his father's death as divine intervention to make a life in music possible especially when Salieri finds himself in [[Vienna]], the "city of musicians" and he is eventually appointed court composer for [[Holy Roman Emperor]] [[Joseph II, Holy Roman Emperor|Joseph II]] ([[Jeffrey Jones]]). Salieri would become well known, popular and content, and he came to believe his successes were God’s rewards for his piety.


All that exists between Salieri and Mozart is the latter's reputation and accomplishments. Then when Mozart comes to town, Salieri is able to see Mozart directly. The impression made upon Salieri is that Mozart is not a paragon of virtue and not devoted to his gift at a level as is Salieri. That from one recital of a welcoming tribute for Mozart to the court, Mozart effortlessly improvised on site the "trifle" into what later would become the "[[Non più andrai]]" march from his opera ''[[The Marriage of Figaro]]''.
Mozart arrives in Vienna to play some of his music at the request of his employer, [[Count Hieronymus von Colloredo|the Prince-Archbishop of Salzburg]] (Nicholas Kepros). Salieri attends the performance to meet Mozart, only to be disappointed when he finds Mozart to be an obscene and immature young man. Despite this, Salieri finds Mozart's talent to be undeniable.


Salieri perceives Mozart's musical skill so miraculous that he will make every effort to thwart Mozart because God is working through Mozart to laugh at Salieri's mediocrity. Nevertheless, Mozart is encountering trials and tribulations of his own in his career: life in Vienna: pride at the initial reception of his music, anger and disbelief over his subsequent snubbing by the Italians of the Emperor's court, happiness with his wife [[Constanze Mozart|Constanze]] ([[Elizabeth Berridge (actress)|Elizabeth Berridge]]) and his son [[Karl Thomas Mozart|Karl]], and grief at the death of his father [[Leopold Mozart|Leopold]] ([[Roy Dotrice]]). Mozart becomes more desperate as the family's expenses increase. When Salieri learns of Mozart's financial straits, he sees his chance to avenge himself, using "God's Beloved" (the literal meaning of "Amadeus") as the instrument.
The Emperor desires to commission Mozart to write a German opera despite the reservations of his advisers ([[Charles Kay]], [[Patrick Hines]], Jonathan Moore), and summons him to the palace. Salieri composes a Welcome March for the occasion, which the Emperor plays himself when Mozart arrives. Mozart happily accepts the job, then effortlessly plays the Welcome March without sheet music. Salieri is infuriated, and asks why God would bestow such talent on such a boorish man.


Salieri plots to gain ultimate victory over Mozart and God. He disguises himself in a masked costume similar to one he saw Leopold wear at a party, and commissions Mozart to write a [[Music for the Requiem Mass|requiem mass]], giving him a down payment and the promise of an enormous sum upon completion. Mozart begins to write the piece, the [[Requiem (Mozart)|Requiem in D minor]], unaware of the mysterious patron's true identity and of his murderous intentions. Glossing over any details of how he might commit the murder, Salieri dwells on the anticipation of the admiration of his peers and the court, when they applaud the magnificent Requiem, and he claims to be the music's composer. Only Salieri and God would know the truth—that Mozart wrote his own requiem mass, and that God could only watch while Salieri finally receives the fame and renown that he deserves.
Mozart premieres [[Die Entführung aus dem Serail|his finished opera]], which stars one of Salieri's own pupils, [[Caterina Cavalieri]] ([[Christine Ebersole]]). The opera is met with mixed reviews from the Emperor and his advisers. Salieri suspects that Mozart has slept with Cavalieri, despite his engagement to [[Constanze Mozart|Constanze Weber]] ([[Elizabeth Berridge (actress)|Elizabeth Berridge]]). Despite this, the couple are married shortly after.


Mozart's financial situation declines due to his [[spendthrift]] lifestyle. This, combined with his heavy drinking, continued grief over the death of his father, and the composing demands of the Requiem and ''[[The Magic Flute]]'' drive him to the point of exhaustion as he alternates work between the two pieces. After an argument, Constanze leaves him and takes their son with her. His health worsens, and he collapses during a performance of ''The Magic Flute''. Salieri takes the stricken Mozart home and convinces him to work throughout the night on the Requiem; Mozart dictates while Salieri transcribes. When Constanze returns in the morning, she tells Salieri to leave. Constanze locks the manuscript away despite Salieri's objections, but as she goes to wake her husband, she finds that Mozart is dead. The Requiem is left unfinished, and Salieri is left powerless as Mozart's body is hauled out of Vienna for burial in a pauper's [[mass grave]].
The Emperor desires that Mozart instruct his niece, [[Duchess Elisabeth of Württemberg|Princess Elisabeth]], in music, but Salieri manages to convince him that Mozart should submit his own music for review before teaching royalty. Mozart angrily refuses to do so, so his wife Constanze steals some of his pieces and takes them to Salieri to assess. Despite being amazed by the quality of the pieces, he will only recommend Mozart if Constanze sleeps with him that night. But when Constanze later returns and disrobes, Salieri relents and sends her away.


Salieri comes to the conclusion that God killed Mozart rather than be allowed to share in Mozart's glory, and that he is consigned to be the "[[patron saint]] of mediocrity". Salieri [[Absolution|absolves]] the priest of his own mediocrity and he blesses the other patients as he is taken away in a wheelchair. The last sound heard before the credits roll is Mozart's high-pitched laughter.
Salieri is enraged that God has bestowed upon Mozart the talent he has so desperately desired. He burns his crucifix and vows to destroy Mozart. Mozart, meanwhile, struggles to find work and begins drinking. His father, [[Leopold Mozart]] ([[Roy Dotrice]]) comes to Vienna to visit and disapproves of his son's lavish lifestyle. Constanze and Mozart take Leopold to a masked party, where Mozart astounds the guests with his musical talent. Unbeknownst to him, Salieri is also present at the party. Leopold disapproves of his son's hedonism and the family argues at home. They are interrupted by a young girl ([[Cynthia Nixon]]), who claims she is being paid by an admirer of Mozart to be his maid. Leopold then leaves Vienna.


⚫
==Cast==
The young girl is revealed to be in the employ of Salieri, who is using her to spy on Mozart. She takes him to the Mozart residence, where he discovers that Mozart is working on an opera based on the play [[The Marriage of Figaro (play)|''The Marriage of Figaro'']], which the Emperor has forbidden. He recounts this to the Emperor, who summons Mozart to explain himself. Mozart manages to convince the Emperor to allow [[The Marriage of Figaro|his opera]] to premiere, which it does, despite Salieri and the adviser's attempts to sabotage it.

Messengers arrive in Vienna with news of Leopold's death. A grief-stricken Mozart next premieres a much darker opera, [[Don Giovanni]]. Salieri realizes that the dead commander symbolizes Leopold and hatches a plan. Disguised by the mask Leopold wore to the party years ago, Salieri visits Mozart and commissions a Requiem Mass. Salieri plots to kill Mozart once the piece is finished, then premiere it at Mozart's funeral, claiming the work as his own.

At a parody of one of Mozart's own operas, the actor [[Emanuel Schikaneder]] ([[Simon Callow]]) asks Mozart to write an opera for the theater. Mozart, desperate for money, obliges, despite Constanze's insistence that he finish the Requiem Mass. The couple fight and Mozart leaves to party with Schikaneder. When he returns home, he finds that Constanze has left with their young son, Karl.

Drunken and depressed, Mozart collapses during a performance of his finished [[singspiel]], [[The Magic Flute|''The Magic Flute'']]. Salieri takes him home and offers his assistance to him. Salieri transcribes Mozart's verbal commands, and they work through the night. The next morning, a gravely ill Mozart apologizes to Salieri for his previous behavoir. A guilty Constanze returns home to find Salieri asleep alongside Mozart. She locks [[Requiem (Mozart)|the unfinished Requiem]] away, only to find that Mozart has died from overwork. Mozart is taken out of the city and unceremoniously buried in a mass grave.

Having finished his tale, Salieri laughs and asks how a merciful God could destroy his own beloved just to keep a mediocrity like Salieri from sharing in his glory. As he is taken away to the water closet, Salieri declares himself "the patron saint of mediocrity" and, as he is pushed down the hall in a wheelchair, mockingly absolves the other patients of their own mediocrity. Mozart's high-pitched laugh is heard as the screen fades to black.

⚫
== Cast==
* [[F. Murray Abraham]] as [[Antonio Salieri]]
* [[F. Murray Abraham]] as [[Antonio Salieri]]
* [[Tom Hulce]] as [[Wolfgang Amadeus Mozart]]
* [[Tom Hulce]] as [[Wolfgang Amadeus Mozart]]

Revision as of 09:27, 15 August 2017

Amadeus
Theatrical release poster by Peter Sís
Directed byMiloš Forman
Screenplay byPeter Shaffer
Produced bySaul Zaentz
Starring
CinematographyMiroslav Ondříček
Edited by
Production
company
Distributed byOrion Pictures
Release dates
  • September 6, 1984 (1984-09-06) (Los Angeles)
  • September 19, 1984 (1984-09-19) (United States)
Running time
161 minutes[1]
CountryUnited States
LanguageEnglish
Budget$18 million[2]
Box office$52 million (North America)[2]

Amadeus is a 1984 American period drama film directed by Miloš Forman, adapted by Peter Shaffer from his stage play Amadeus. The story, set in Vienna, Austria, during the latter half of the 18th century, is a fictionalized biography of Wolfgang Amadeus Mozart. Mozart's music is heard extensively in the soundtrack of the movie. Its central thesis is that Antonio Salieri, an Italian contemporary of Mozart is so driven by jealousy of the latter and his success as a composer that he plans to kill him and to pass off a Requiem, which he secretly commissioned from Mozart as his own, to be premiered at Mozart's funeral.

The film was nominated for 53 awards and received 40, which included eight Academy Awards (including Best Picture), four BAFTA Awards, four Golden Globes, and a Directors Guild of America (DGA) award. As of 2016, it is the most recent film to have more than one nomination in the Academy Award for Best Actor category. In 1998, the American Film Institute ranked Amadeus 53rd on its 100 Years... 100 Movies list.

Plot

The elderly Antonio Salieri (F. Murray Abraham) calls for forgiveness from Wolfgang Amadeus Mozart (Tom Hulce) for having been his assassin; Salieri cuts his own throat. During the night, Salieri is put into a lunatic asylum where the following day the young Father Vogler (Richard Frank) visits him and elicits his confession. Salieri is disinterested but then warms to the priest's interest.

Salieri explains that when he was young his father had a higher regard to pray to protect commerce than have his son through music, devotion to celibacy and sacrifice achieve the glory of God. Salieri's father had the opinion that Mozart was "a trained monkey". Salieri perceives his father's death as divine intervention to make a life in music possible especially when Salieri finds himself in Vienna, the "city of musicians" and he is eventually appointed court composer for Holy Roman Emperor Joseph II (Jeffrey Jones). Salieri would become well known, popular and content, and he came to believe his successes were God’s rewards for his piety.

All that exists between Salieri and Mozart is the latter's reputation and accomplishments. Then when Mozart comes to town, Salieri is able to see Mozart directly. The impression made upon Salieri is that Mozart is not a paragon of virtue and not devoted to his gift at a level as is Salieri. That from one recital of a welcoming tribute for Mozart to the court, Mozart effortlessly improvised on site the "trifle" into what later would become the "Non più andrai" march from his opera The Marriage of Figaro.

Salieri perceives Mozart's musical skill so miraculous that he will make every effort to thwart Mozart because God is working through Mozart to laugh at Salieri's mediocrity. Nevertheless, Mozart is encountering trials and tribulations of his own in his career: life in Vienna: pride at the initial reception of his music, anger and disbelief over his subsequent snubbing by the Italians of the Emperor's court, happiness with his wife Constanze (Elizabeth Berridge) and his son Karl, and grief at the death of his father Leopold (Roy Dotrice). Mozart becomes more desperate as the family's expenses increase. When Salieri learns of Mozart's financial straits, he sees his chance to avenge himself, using "God's Beloved" (the literal meaning of "Amadeus") as the instrument.

Salieri plots to gain ultimate victory over Mozart and God. He disguises himself in a masked costume similar to one he saw Leopold wear at a party, and commissions Mozart to write a requiem mass, giving him a down payment and the promise of an enormous sum upon completion. Mozart begins to write the piece, the Requiem in D minor, unaware of the mysterious patron's true identity and of his murderous intentions. Glossing over any details of how he might commit the murder, Salieri dwells on the anticipation of the admiration of his peers and the court, when they applaud the magnificent Requiem, and he claims to be the music's composer. Only Salieri and God would know the truth—that Mozart wrote his own requiem mass, and that God could only watch while Salieri finally receives the fame and renown that he deserves.

Mozart's financial situation declines due to his spendthrift lifestyle. This, combined with his heavy drinking, continued grief over the death of his father, and the composing demands of the Requiem and The Magic Flute drive him to the point of exhaustion as he alternates work between the two pieces. After an argument, Constanze leaves him and takes their son with her. His health worsens, and he collapses during a performance of The Magic Flute. Salieri takes the stricken Mozart home and convinces him to work throughout the night on the Requiem; Mozart dictates while Salieri transcribes. When Constanze returns in the morning, she tells Salieri to leave. Constanze locks the manuscript away despite Salieri's objections, but as she goes to wake her husband, she finds that Mozart is dead. The Requiem is left unfinished, and Salieri is left powerless as Mozart's body is hauled out of Vienna for burial in a pauper's mass grave.

Salieri comes to the conclusion that God killed Mozart rather than be allowed to share in Mozart's glory, and that he is consigned to be the "patron saint of mediocrity". Salieri absolves the priest of his own mediocrity and he blesses the other patients as he is taken away in a wheelchair. The last sound heard before the credits roll is Mozart's high-pitched laughter.

Cast

Production

In his autobiography Beginning, Kenneth Branagh says that he was one of the finalists for the role of Mozart, but was dropped from consideration when Forman decided to make the film with an American cast.[3] Hulce reportedly used John McEnroe's mood swings as a source of inspiration for his portrayal of Mozart's unpredictable genius.[4]

Meg Tilly was cast as Mozart's wife Constanze, but she tore a ligament in her leg the day before shooting started.[4] She was replaced by Elizabeth Berridge. Simon Callow, who played Mozart in the original London stage production of Amadeus, was cast as Emanuel Schikaneder, the librettist of The Magic Flute.

The film was shot on location in Prague, Kroměříž, and Vienna. Notably, Forman was able to shoot scenes in the Count Nostitz Theatre in Prague, where Don Giovanni and La clemenza di Tito debuted two centuries before. Several other scenes were shot at the Barrandov Studios.[citation needed]

Forman collaborated with American choreographer Twyla Tharp.[citation needed]

Reception

In 1985, the film was nominated for eleven Academy Awards, including the double nomination for Best Actor with Hulce and Abraham each being nominated for their portrayals of Mozart and Salieri, respectively. The film won eight Oscars, including Best Picture, Best Actor (Abraham), Best Director (Forman), Costume Design (Theodor Pištěk), Adapted Screenplay (Shaffer), Art Direction (Karel Černý, Patrizia von Brandenstein), Best Makeup, and Best Sound. The film was nominated for but did not win Oscars for Best Cinematography and Best Editing. Amadeus, The English Patient, The Hurt Locker, The Artist, and Birdman are the only Best Picture winners never to enter the weekend box office top 5 after rankings began being recorded in 1982.[5][6][7][8] Amadeus peaked at #6 during its 8th weekend in theaters. Saul Zaentz produced both Amadeus and The English Patient.

The film was nominated for six Golden Globes (Hulce and Abraham were nominated together) and won four, including awards to Forman, Abraham, Shaffer, and Golden Globe Award for Best Picture – Drama. Jeffrey Jones was nominated for Golden Globe for Best Supporting Actor – Motion Picture Drama. Forman also received the Directors Guild of America Award for his work.

At the end of the Oscar ceremony, Laurence Olivier came on stage to present the Oscar for Best Picture. As Olivier thanked the Academy for inviting him, he was already opening the envelope. Instead of announcing the nominees, he simply read, "The winner for this is ‘Amadeus’." An AMPAS official quickly went onstage to confirm the winner and signaled that all was well, before Olivier then presented the award to producer Saul Zaentz. Olivier (in his 78th year) had been ill for many years, and it was because of mild dementia that he forgot to read the nominees.[9] Zaentz then thanked Olivier, saying it was an honour to receive the award from him,[10] before mentioning the other nominees in his acceptance speech: The Killing Fields, A Passage to India, Places in the Heart and A Soldier's Story. Maurice Jarre won the Oscar for Best Original Music Score for his scoring of A Passage to India. In his acceptance speech for the award, Jarre remarked "I was lucky Mozart was not eligible this year".[11]

Alternative versions

Amadeus premiered in 1984 as a PG-rated movie with a running time of 161 minutes. In 2002, director Miloš Forman introduced an R-rated version with nearly 20 minutes of restored footage. This version was released by the studios as a Director's Cut. Forman justified why those scenes were cut in the first place in the 1995 supplemental material for Pioneer's deluxe LaserDisc. However, he explains why the scenes were eventually restored in a subsequent 2002 interview with The A.V. Club:

When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office. And in the '80s, with MTV on the scene, we are having a three-hour film about classical music, with long names and wigs and costumes. Don't forget that no major studio wanted to finance the film, for these reasons. So we said, "Well, we don't want to be pushing the audience's patience too far". Whatever was not directly connected to the plot, I just cut out. But it was a mutual decision [to limit the running time]. I wanted the best life for the film myself... Well, once we are re-releasing it on DVD, it doesn't matter if it is two hours and 40 minutes long, or three hours long. So why don't we do the version as it was written in the script?[12]

Music

Film credits

Original Soundtrack Recording

The soundtrack album[13] reached #1 in the Billboard Classical Albums Chart, #56 in the Billboard Popular Albums Chart, has sold over 6.5 million copies and received thirteen gold discs, making it one of the most popular classical music recordings of all time.[14] It won the Grammy Award for Best Classical Album in 1984.[15]

  • Disc 1
  1. Mozart: Symphony No. 25 in G minor, K. 183, 1st movement
  2. Giovanni Battista Pergolesi: Stabat Mater: "Quando corpus morietur" and "Amen"
  3. Early 18th Century Gypsy Music: Bubak and Hungaricus
  4. Mozart: Serenade for Winds in B flat major, K. 361, 3rd movement
  5. Mozart: The Abduction from the Seraglio, K. 384, Turkish Finale
  6. Mozart: Symphony No. 29 in A major, K. 201, 1st movement
  7. Mozart: Concerto for Two Pianos in E flat major, K. 365, 3rd movement
  8. Mozart: Great Mass in C minor, K. 427, Kyrie
  9. Mozart: Symphonie Concertante in E flat major, K. 364, 1st movement
  • Disc 2
  1. Mozart: Piano Concerto No. 22 in E flat major, K. 482, 3rd movement
  2. Mozart: The Marriage of Figaro, K. 492, Act III, "Ecco la marcia"
  3. Mozart: The Marriage of Figaro, K. 492, Act IV, "Ah, tutti contenti"
  4. Mozart: Don Giovanni, K. 527, Act II, Commendatore scene
  5. Mozart: Zaide, K. 344, Aria, "Ruhe sanft"
  6. Mozart: Requiem, K. 626, Introitus (orchestral introduction)
  7. Mozart: Requiem, K. 626, Dies irae
  8. Mozart: Requiem, K. 626, Rex tremendae majestatis
  9. Mozart: Requiem, K. 626, Confutatis
  10. Mozart: Requiem, K. 626, Lacrimosa
  11. Mozart: Piano Concerto No. 20 in D minor, K. 466, 2nd movement

All tracks on the album were performed specifically for the film. According to the film commentary by Forman and Schaffer, Marriner agreed to score the film if Mozart's music was completely unchanged from the original scores. Marriner did add some notes to Salieri's music that are noticeable in the beginning of the film, as Salieri begins his confession.

The aria "Ruhe sanft" from the opera Zaide does not appear in the film.

More Music from the Original Soundtrack

In 1985 an additional album with the title More Music from the Original Soundtrack of the Film Amadeus was issued containing further selections of music that were not included on the original soundtrack release.[16]

  1. Mozart: The Magic Flute, K. 620, Overture
  2. Mozart: The Magic Flute, K. 620, Act II, The Queen of the Night aria ("Der Hölle Rache kocht in meinem Herzen")
  3. Mozart: Masonic Funeral Music, K. 477
  4. Mozart: Piano Concerto No. 20 in D minor, K. 466, 1st movement
  5. Antonio Salieri: Axur, re d'Ormus, Finale
  6. Mozart: Eine kleine Nachtmusik (Serenade No. 13 for Strings in G major), K. 525, 1st movement, arranged for woodwind octet by Graham Sheen
  7. Mozart: Concerto for Flute and Harp in C major, K. 299, 2nd movement
  8. Mozart: Six German Dances (Nos. 1–3), K. 509
  9. Giuseppe Giordani: "Caro mio ben"
  10. Mozart: The Abduction from the Seraglio, K. 384, Chorus of the Janissaries (Arr.) and "Ich möchte wohl der Kaiser sein" ("Ein deutsches Kriegslied"), K. 539 (Arr.)

The Masonic Funeral Music was originally intended to play over the closing credits, but was replaced in the film by the second movement of the Piano Concerto No. 20 in D minor[17] (included on the Original Soundtrack Recording).

Director's Cut soundtrack

In 2002, to coincide with the release of the Director's Cut of the film, the soundtrack was remastered with 24-bit encoding and reissued with the title Special Edition: The Director's Cut – Newly Remastered Original Soundtrack Recording on two 24-karat gold CDs.[18] It contains most of the music from the previous two releases, but with the following differences.

The following pieces were added for this release:

The following pieces, previously released on More Music from the Original Soundtrack of the Film Amadeus, were not included:

Awards and nominations

United States

Academy Awards 1985:

Golden Globe Awards 1985:

LAFCA Awards 1984:

American Cinema Editors:

  • Won (1)
    • Best Edited Feature Film (Nena Danevic and Michael Chandler)

Casting Society of America:

  • Won (1)
    • Best Casting for Feature Film (Mary Goldberg)

Directors Guild of America:

  • Won (1)
    • Outstanding Directorial Achievement in Motion Pictures (Miloš Forman)

Kansas City Film Critics Circle Award:

  • Won (1)
    • Best Actor (F. Murray Abraham)

American Film Institute:

United Kingdom

BAFTA:

  • Won (4)
  • Nominated
    • Best Actor (F. Murray Abraham)
    • Best Costume Design (Theodor Pištěk)
    • Best Film (Miloš Forman and Saul Zaentz)
    • Best Production Design (Patrizia von Brandstein)
    • Best Screenplay – Adapted (Peter Shaffer)

Italy

David di Donatello:

Nastro d'Argento:

  • Won (2)
    • Best Actor – Foreign Film (Tom Hulce)
    • Best Director – Foreign Film (Miloš Forman)

France

César Award:

Japan

Japan Academy Prize:

Norway

Amanda Award:

  • Won (1)
    • Best Foreign Feature Film

References

  1. ^ "Amadeus". British Board of Film Classification. Retrieved May 13, 2014.
  2. ^ a b "Amadeus (1984) – Financial Information". The Numbers. Retrieved December 22, 2014.
  3. ^ Branagh, Kenneth (1990). Beginning. New York: Norton. pp. 105–109. ISBN 978-0-393-02862-1. OCLC 20669813.
  4. ^ a b The Making of Amadeus. DVD. Warner Bros Pictures, 2001. 20 min.
  5. ^ The English Patient weekend box office results, BoxOfficeMojo.com
  6. ^ Amadeus weekend box office results, BoxOfficeMojo.com
  7. ^ The Hurt Locker weekend box office results, BoxOfficeMojo.com
  8. ^ Birdman weekend box office results, BoxOfficeMojo.com
  9. ^ Olivier, by Terry Coleman, 2005, p 484
  10. ^ "Academy Awards Acceptance Speeches". Academy of Motion Picture Arts & Sciences. 1985-03-25. Retrieved 2011-02-24.
  11. ^ Sharon Waxman (March 21, 1999). "The Oscar Acceptance Speech: By and Large, It's a Lost Art". The Washington Post.
  12. ^ A.V. Club interview with Miloš Forman, April 24, 2002
  13. ^ "Wolfgang Amadeus Mozart - Neville Marriner*, Academy Of St. Martin-In-the-Fields – Amadeus (Original Soundtrack Recording)". Discogs. Retrieved 29 September 2016.
  14. ^ "Amadeus Soundtrack". Academy of St Martin in the Fields. Retrieved 30 September 2016.
  15. ^ "Past Winners: 1984 – 27th Annual Grammy Awards". GRAMMY.org. The Recording Academy. Retrieved 29 September 2016.
  16. ^ "Sir Neville Marriner, Academy Of St. Martin-In-The-Fields – Amadeus (More Music From The Original Soundtrack Of The Film)". Discogs. Retrieved 29 September 2016.
  17. ^ More Music from the Original Soundtrack of the Film Amadeus, album liner notes
  18. ^ "Sir Neville Marriner, Academy Of St. Martin-in-the-Fields – Amadeus (Original Soundtrack Recording – Special Edition: The Director's Cut)". Discogs. Retrieved 29 September 2016.
  19. ^ "The 57th Academy Awards (1985) Nominees and Winners". oscars.org. Retrieved 2011-10-13.
  20. ^ "Amadeus". The New York Times. Retrieved 2009-01-01.
Wikiquote has quotations related to Amadeus.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Amadeus_(film)&oldid=795606519"